Prof Heike Roms PhD (Wales), MA (Hamburg), PGCTHE (Aberystwyth); Fellow of the Higher Education Academy FHEA; Fellow of the Royal Society for the Arts FRSA; National Advisor to the Arts Council of Wales

Prof Heike Roms

Professor in Performance Studies

Contact Details


I joined the Department in 2005, after three years as Lecturer in Theatre and Media Drama at Glamorgan University. I received my PhD in 2001 from the University of Wales Aberystwyth, following a Masters (Magister Artium M.A.) in Literature, German philology and Musicology from Hamburg University. Between 1985 and 1995 I worked for various theatre organisations in Germany, as dramaturg, production manager and head of press and publicity for organisations such as the Kampnagelfabrik Hamburg, the Internationales Sommertheater Festival Hamburg and the Ruhrfestspiele Recklinghausen. Following this, I worked for three years as administrator for Performance Studies international, the main membership association in the field, which I helped establish in 1998.For my research interests please refer to the Research section. Under Additional Information you will find details on my public engagement activities, PhD supervisions and examinations, fellowships and grants, and on my external examining duties.

Additional Information

Public Engagement: I have been involved in many public engagement activities nationally and internationally in connection with my research on the history of performance art, among them collaborations with major art institutions in Wales (National Museum, Arts Council of Wales, Chapter, etc); consultations for the Tate, the Vale of Glamorgan Council, the National Eisteddfod and BBC Wales; and public lectures at leading national and international venues, festivals and exhibitions. See

Fellowships: Royal Society for the Encouragement of Arts, Manufactures and Commerce (RSA); Higher Education Academy; Daimler-Benz-Foundation. I am also a National Advisor for Arts Council Wales.

External Examinerships: I am external examiner on the MA Theatre and Performance at Queen Mary University London. I have acted as examiner for undergraduate programmes at Glasgow University, Leeds Met, Brunel University and Dartington College of Arts.I have examined over twenty PhDs, including for Murdoch University (Australia) and the Universities of Plymouth, Queen Mary, Royal Holloway, South Wales, Ulster, Wales Trinity Saint David, Warwick and West of England.

Membership of Scholarly Organisations: I am a member of the Oral History Society, TAPRA (Theatre and Performance Research Association UK), FIRT International Federation of Theatre Research and PSi Performance Studies .

Membership of Editorial Boards: I currently serve on the editorial boards of Contemporary Theatre Review, Performance Paradigm, Inter and Frakcija.

Research Grants: My research has been funded by the AHRC (Large Research Grant, Network grants, Collaborative Doctoral awards), Sir David Hughes Parry awards, University of Wales Aberystwyth Research Fund and Arts Council of Wales/ National Lottery.



  • Histories of performance art (Wales, UK)
  • Performance, archiving and historiography
  • Performance art's pedagogical histories
  • Disciplinary histories of Performance Studies

I have published widely on contemporary performance, including essays on Acco Theatre Centre (Israel), Goat Island (US), Brith Gof, Eddie Ladd and Simon Whitehead (all Wales); on the history of performance art; on performance and archiving; on performance and landscape; and on performance as a mode of knowledge formation.

My major enquiry into the history of performance art in Wales, What’s Welsh for Performance? Beth yw ‘performance’ yn Gymraeg?, was funded by a Large Research Grant from the Arts and Humanities Research Council (2009-2011) and won the TaPRA David Bradby Award for Outstanding Research in International Theatre and Performance 2011.

I am currently working on a book with the working title When Yoko Ono did not come to Wales - Locating the early history of Performance Art.

My parallel enquiry into the disciplinary genealogies of Performance Studies led to a major edited collection, Contesting Performance – Global Sites of Research (with Jon McKenzie and C.J.W.-L. Wee), published by Palgrave in 2010.

I serve on several editorial boards, act regularly as peer reviewer for journals and publishers, have organised major conferences and symposia and am an active member of several research networks and membership associations in the UK and internationally. I am currently a board member of PSI Performance Studies international, the main professional membership association in the field.

I have supervised six PhD projects to successful completion and am currently supervising six projects, including two projects funded by an AHRC Collaborative Doctoral Award.

I welcome applications from prospective research students in any area of my research interests (including practice-based research)

Further information:



Roms, H. 2017. Eventful Evidence: Historicising Performance Art. In B. Büscher., F. Cramer. (eds) Fluid Access: Archiving Performance-Based Arts. Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy" Schriften, no. 12 University of Music and Theatre Leipzig, Leipzig pp. 94.


Roms, H. 2016. Zur Performativität der Oral History von Performance-Kunst. [On the performativity of an oral history of performance art.] In S. Gebhardt Fink., M. Mathis., M. von Büren. (eds) Aufzeichnen und Erinnern. Performance Chronik Basel (1987–2006). Diaphanes, Zürich pp. 31–41.


Roms, H. 2015. Glossary: Infrastructure and Narration. Performance Research 20 (4) pp. 127–133.

Roms, H. 2015. Mind the Gaps: Evidencing Performance and Performing Evidence in Performance Art History. In C. Cochrane., J. Robinson. (eds) Theatre History and Historiography: Ethics, Evidence, and Truth. Springer Nature, Basingstoke pp. 163–181.

Roms, H. 2015. Remembering Adam on St Agnes’ Eve. In H. Roms. (ed) Silent Explosion: Ivor Davies and Destruction in Art. Occasional Papers, London pp. 112–121.

Roms, H. 2015. Silent Explosion: Ivor Davies and Destruction in Art. Occasional Papers, London


Roms, H. 2014. Histories and Practices of Live Art edited by Deirdre Heddon and Jennie Klein. Basingstoke and New York: Palgrave Macmillan, 2012, 248 pp, ISBN 9780230229747 (paperback). Contemporary Theatre Review 24 (3) pp. 396–397.

Pearson, M., Roms, H.P. 2014. Performing Cardiff: Six Approaches to a City and its Performance Past. In N. Whybrow. (ed) Performing Cities . Springer Nature, Basingstoke pp. 120-140.


Roms, H. 2013. "It was forty years ago today...": Locating the Early History of Performance Art in Wales 1965-1979. In D. Johnson. (ed) Critical Live Art: Contemporary Histories of Performance in the UK. Taylor & Francis

Roms, H. 2013. Archiving legacies: Who cares for performance remains? In G. Borggreen., R. Gade. (eds) Performing Archives/ Archives of Performance. PSi Books University of Chicago Press Other

Roms, H.P. 2013. Künstlerisch-wissenschaftliche Forschung in den Ruinen der Universität: Performance als wissenschaftliche Veröffentlichungsform. [Artistic-scholarly research in the 'University in Ruins'] In S. Peters. (ed) Das Forschen aller. Artistic Research als Wissensproduktion zwischen Kunst, Wissenschaft und Gesellschaft. transcript, Bielefeld

Roms, H., Pearson, M. 2013. Marking Time – a journey into Cardiff’s performance pasts. Experimentica 2013, Cardiff, United Kingdom of Great Britain and Northern Ireland, 07/11/2013 - 10/11/2013.


Roms, H.P. 2012. Great Britain; Festival of Misfits; Fluxconcert by and for Fluxus. In P. Stegmann. (ed) The Lunatics are on the loose: European Fluxus Festivals 1962-1977. The lunatics are on the loose... European Fluxus Festivals 1962-1977, , 12/07/2012 - 10/01/2013. Down With Art!, Berlin pp. 10; 107-122; 427-439.

Roms, H., Stegman, P., Delin Hansen, E., Van der Meijden, P., Riviere, H., Ugelstad, C. 2012. The lunatics are on the loose... European Fluxus Festivals 1962-1977 (Exhibitions, Conferences, Actions, Publications). The lunatics are on the loose... European Fluxus Festivals 1962-1977, , 12/07/2012 - 10/01/2013. Other

Roms, H., Edwards, R. 2012. Towards a Prehistory of Live Art in the UK. Contemporary Theatre Review 22 (1) pp. 17-31.


Roms, H.P. 2011. How to Build an Arts Centre? A Guided Audio-Tour. Other

Roms, H., Edwards, R.J. 2011. Oral History as Site-Specific Practice: Locating the Early History of Performance Art in Wales 1965-1979. In S. Trower. (ed) Place, Writing, and Voice in Oral History . Palgrave Studies in Oral History Springer Nature pp. 171-192.

Roms, H., Edwards, R. 2011. Oral History as Site-Specific Practice: Locating the History of Performance Art in Wales. In S. Trower. (ed) Place, Writing, and Voice in Oral History. Palgrave Studies in Oral History Springer Nature pp. 171-192. Other

2011. What’s Welsh for Performance? Beth yw ‘Performance’ yn Gymraeg? website. Other


Roms, H. 2010. Das Ereignis als Evidenz, die Evidenz als Ereignis: Zur Geschichtsschreibung der Performance Art. [Event as Evidence, Evidence as Event: On the Historiography of Performance Art.] MAP- Media, Archive,Performance (2) Other

Daniels, S., Pearson, M., Roms, H.P. 2010. Editorial: Fieldworks. Performance Research 15 (4) 1 pp. 1-5.

Roms, H. 2010. Remembering Performance - Performing Memory: An Oral History of Performance Art in Wales. In M. Leclercq., L. Rossion., A. R. Jones. (eds) Capter l'essence du spectacle - Capturing the Essence of Performance: Proceedings of the Congres de Glasgow SIBMAS Glasgow Congress 2008. Peter Lang pp. 209-220. Other

Roms, H.P. 2010. The Lure of the Local, the Seduction of the Global: Locating Intermediality in Eddie Ladd's Scarface*. In M. Sihra., P. Koski. (eds) The Local Meets The Global in Performance. Cambridge Scholars Publishing pp. 65-80. Other

Roms, H. 2010. The Practice Turn: Performance and the British Academy. In H. Roms., J. McKenzie., C. J. W. -. Wee. (eds) Contesting Performance: Global Sites of Research. Performance Interventions Springer Nature pp. 51-70. Other


McKenzie, J., Roms, H., Wee, C.J.W.-. 2009. Contesting Performance: Global Sites of Research. Performance Interventions 1st edn, Springer Nature

McKenzie, J., Wee, C.J.W.-., Roms, H. 2009. Introduction: Contesting Performance in an Age of Globalization. In H. Roms., J. McKenzie., C. J. W. -. Wee. (eds) Contesting Performance: Global Sites of Research. Performance Interventions Springer Nature pp. 1-22. Other

Gritzner, K., Primavesi, P., Roms, H.P. 2009. On Dramaturgy. Performance Research 14 (3) 1 pp. 1-2.


Roms, H. 2008. Aberystwyth in Flux 1968-2008. Aberystwyth in Flux 1968-2008, , 29/11/2008 - 29/11/2008. Other

Roms, H. 2008. Eventful Evidence: Historicizing Performance Art. Maska 23 (117-118) pp. 69-77.

Roms, H. 2008. Mapping Performance Art in Cardiff. Mapping Performance Art in Cardiff, , 19/10/2008 - 19/10/2008. Other

Roms, H. 2008. Performance Drawing. WelshArtNow pp. 24-28.

Roms, H., Greenhalgh, B., Hassall, L., Hunter, R., Stitt, A., Babot, P. 2008. Trace Dis:placed. Trace Dis:placed, , 06/02/2008 - 09/02/2008. Other

Roms, H. 2008. What Substance is Substance? – André Stitt’s Material Performances. In A. Stitt. (ed) Substance: Residues, Drawings & Partial Objects 1976-2008. Spacex pp. 12-19.

Roms, H.P. 2008. What's Welsh for Performance? - An Oral History of Performance Art in Wales 1968-2008. Trace: Samizdata Press Other

Roms, H. 2008. What's Welsh for Performance? Constructing an Archive of Performance Art in Wales. Cyfrwng 5 pp. 54-72. Other


Roms, H. 2007. Performance Archives Performance: Flashes from the Archives of Oblivion: Stuart Brisley, Ian Hinchliffe, Alastair MacLennan, Tatsumi Orimoto.

Roms, H. 2007. Performance and Protest. New Welsh Review pp. 16-26.

Roms, H. 2007. Remembering Performance: Heike Roms in conversation with Ivor Davies. In H. McIver. (ed) Platform TRI/3: Contemporary Performance Practice in Wales. Wales Arts International pp. 13-17.

Roms, H. 2007. Staging an Urban Nation: Place and Identity in Contemporary Welsh Theatre. In N. Holdsworth., M. Luckhurst. (eds) A Concise Companion to Contemporary British and Irish Drama. Wiley pp. 107-124. Cadair Other


2006. An Oral History of Performance in Wales – Hanes Llafar Celfyddyd Perfformio yng Nghymru (2006-2008).

Roms, H. 2006. Encountering Memory: Acco Theatre Center's Arbeit macht frei MiToitland Europa. In J. Kelleher., N. Ridout. (eds) Contemporary Theatres in Europe: A Critical Companion. Taylor & Francis pp. 47-60. Cadair Other

Roms, H. 2006. Eye and Ear, Foot and Mouth; Mapping Performance in three journeys and one withdrawal. In J. Christie., R. Gough., D. P. Watt. (eds) A Performance Cosmology: Testimony from the Future, Evidence of the Past. Taylor & Francis, London pp. 10-14.

Roms, H. 2006. Footnotes: Four walks in the company of Simon Whitehead. In S. D. Whitehead., H. Roms., W. Heim., D. Williams., D. Johnson. (eds) Walking to Work. Shoeless Publications, Abercych

Roms, H. 2006. From map to Trace; Situating performance in Wales. In A. Stitt., J. Bacon., H. Roms., J. Durham. (eds) Trace: Installation Art Space, Cardiff 00-05. Seren Books, Bridgend pp. 14-36.


Roms, H. 2004. Performing Polis: Theatre, Nationness and Civic Identity in Post-Devolution Wales. Studies in Theatre and Performance 24 (3) pp. 177-192. Other Cadair